Spike Lee’s Kickstarted remake of Ganja & Hess is more interesting than its negative reception belies.
Spike Lee’s filmed version of the Broadway rock musical captures the immediacy of the show in his own imitable style.
Mary Mazzio’s inspirational sports doc is as empowering as it is occasionally muddled.
Black cinema (and American cinema as a whole) hasn’t been the same since the release of Spike Lee’s revolutionary New York drama.
Spike Lee’s third film is a caustic, exuberant exploration of the politics of race in the ’80s, from colorism to the effectiveness of activism.
Spike Lee’s 1986 debut is a bold, if shaggy, milestone for the history of Black cinema.
For the month of March, we look back at the vibrant, confrontational, incisive work of one of American filmmaking’s most iconic figures.
Sam de Jong’s vibrant, raw indie offers an effortlessly dynamic showcase for its model-turned-actress star.
Issa Rae and Lakeith Stanfield look at their romance through the lens of the past in Stella Meghie’s sumptuous drama.
From live-action to animated to documentaries, we flip through the Academy Awards’ shorts offerings to see what we think should win.
Trey Edward Shults trots out every filmmaking trick in the book to spruce up an overly-novelistic family drama.
The acclaimed filmmaker stumbles in her slick, but inaccessible portrait of the iconic civil rights figure.
In a year of TV series reaching their much-vaunted conclusions, Orange Is the New Black went out with a seventh season filled with drum-banging polemic.
Race, control, and patriarchy reign in July’s offerings from Criterion.
Timothy Greenfield-Sanders lets Morrison’s genius speak for itself.
Ava DuVernay tells the tale of the Central Park Five in a stirring but unsubtle miniseries.
On this week’s podcast, we speak with composer Kurt Farquhar, “the musical voice of the BET,” about his work on American Soul and Black Lightning.
Our exploration of black women directors continues with a look at Gina Prince-Bythewood’s sensitive, layered romantic drama.